Ian Matthews Bio | Ian Matthews Career | MTV Get the MTV ArtistsApp and discover music wherever you are. About Ian Matthews Blues/Folk During his stylistically diverse and often convoluted career, Iain Matthews (born Ian Matthews MacDonald, he changed his last name in 1968 and then the spelling of his first name in 1989 to reflect his Celtic roots) has seen commercial success, major-label deals, and numerous bands come and go, and then come and go again, while always bouncing back in one way or another. After time spent with a couple of local bands (the Classics and the Rebels) in his hometown of Scunthorpe, he moved to London where he began his recording career in 1966 with the surf group Pyramid. The band recorded one single for Deram Records, but never really went any further and Matthews (then still known as Ian MacDonald) left after he was brought to the attention of Ashley Hutchings, who happened to be looking for a male singer for his new band Fairport Convention.

He remained with Fairport for two albums, including the folk-rock classic What We Did on Our Holidays, before leaving during the recording of 1969's Unhalfbricking (his backing vocal can be heard on "Percy's Song") due to creative differences. By the time of his second and last record with the band, he became known as Ian Matthews, changing his name to avoid confusion with King Crimson's Ian MacDonald. Matthews soon signed with MCA Records for his first solo effort, Matthews Southern Comfort (1970), which featured former Fairport bandmates Richard Thompson and Simon Nicol. He eventually formed a band of the same name, recording two albums for MCA and scoring a number one U.K. hit with their version of Joni Mitchell's "Woodstock." In November of 1970, at the height of the band's popularity, Matthews left, abruptly walking off-stage during a show in Oxford. Shortly thereafter, a deal with Mercury Records subsidiary Vertigo resulted in two of his best albums, If You Saw Thro' My Eyes (January 1971) and Tigers Will Survive (November 1971).

Artistically restless, Matthews formed another band, Plainsong, with Dave Richards, Andy Roberts, and Bob Ronga. Both Roberts and Ronga had appeared on Tigers Will Survive. A contractual obligation with Vertigo for one more record led to the recording of Journeys from Gospel Oak. The finished product, which was completed in just five days, remained in the can until 1974, after being sold to Mooncrest Records. Free from his contract with Vertigo, Matthews and his new band recorded the loosely conceptual In Search of Amelia Earhart in 1972 for Elektra Records, before disbanding when the label refused to release the follow-up. Matthews then relocated to California, recording two more albums for Elektra, the Michael Nesmith-produced Valley Hi (November 1973) and Some Days You Eat the Bear and Some Days the Bear Eats You (July 1974). While both received their fair share of critical praise, neither did all that well commercially, and he was dropped from the label.

Following a brief stint with Columbia, which yielded what may be his two weakest records (Go for Broke [1975] and Hit and Run [1976]), he reunited with Sandy Roberton, who had produced both Journeys from Gospel Oak and In Search of Amelia Earhart, for his next venture, 1978's Stealin' Home. Produced by Roberton on his own Rockburgh label, Stealin' Home surprisingly spawned Matthews' biggest U.S. hit, the Terence Boylan penned "Shake It" (number 13). Subsequent LPs failed to match the success of Stealin' Home and when Rockburgh went bankrupt, he was once again without a label. From the mid-'70s on into the '80s, Matthews dabbled in a number of different styles, from jazz-inflected pop to new wave, with varied results. Living in Seattle (he moved there in the late '70s), led to the formation of yet another band, Hi-Fi, who released two records to relative public indifference before splitting up.

Once again solo, Matthews returned with the techno-pop Shook (1984), which was released only in Germany following PolyGram's decision to not market the album in Britain or the U.S. Frustrated by the decision, Matthews decided to call it quits after 18 years as a recording artist. This consequently led to work as an A&R man for Island Music and then Windham Hill Records, but a 1986 appearance at Fairport Convention's annual reunion festival rekindled Matthews' interest in performing. His retirement turned into merely a five-year hiatus, culminating with Walking a Changing Line (1988), an album dedicated solely to the songs of singer/songwriter Jules Shear. The late '80s saw another move for Matthews, this time to Austin, Texas, where he worked on and off with Walking a Changing Line co-producer Mark Hallman. The next decade would be Matthews' most productive stretch since the late '60s/early '70s, with the release of five solo studio albums, as well as three with the re-formed Plainsong, one with the band Hamilton Pool, and a handful of live recordings.

It also proved to be his most fruitful period as a writer. The '90s also saw the release of various collections of odds and ends, including three volumes of rarities and unreleased material entitled Orphans & Outcasts. As the '90s came to an end, Matthews continued to stay busy, floating from project to project, recording on his own, as well as with others. Tiniest Wham was issued in early 2000, as was the Sandy Denny tribute Secrets All Told with the one-off band No Grey Faith. A collaboration with singer/songwriter Elliott Murphy (La Terre Commune) followed in 2001. Throughout the 2000s Matthews stayed active, releasing a handful of live albums while also stretching out into unfamiliar territory and collaborations. With the Searing Quartet, he explored jazz on the 2008 album Joy Mining. He made duet albums with Egbert Derix and Ad Van Der Veen, as well as two records with the Nick Vernier Band, including a 2010 LP called Time Will Show the Wiser that also showcased Emitt Rhodes.

He also cut a record with Plainsong in 2003 and one with Matthews Southern Comfort in 2010. In the early days of 2014, he released The Art of Obscurity, which he called his final solo album; he wasn't planning to retire but rather to cease making solo records. ~ Brett Hartenbach, Rovi Ian Matthews on Apple Music To preview a song, mouse over the title and click Play. Open iTunes to buy and download music. Biography During his stylistically diverse and often convoluted career, Iain Matthews (born Ian Matthews MacDonald, he changed his last name in 1968 and then the spelling of his first name in 1989 to reflect his Celtic roots) has seen commercial success, major-label deals, and numerous bands come and go, and then come and go again, while always bouncing back in one way or another. After time spent with a couple of local bands (the Classics and the Rebels) in his hometown of Scunthorpe, he moved to London where he began his recording career in 1966 with the surf group Pyramid.

The band recorded one single for Deram Records, but never really went any further and Matthews (then still known as Ian MacDonald) left after he was brought to the attention of Ashley Hutchings, who happened to be looking for a male singer for his new band Fairport Convention. He remained with Fairport for two albums, including the folk-rock classic What We Did on Our Holidays, before leaving during the recording of 1969's Unhalfbricking (his backing vocal can be heard on "Percy's Song") due to creative differences. By the time of his second and last record with the band, he became known as Ian Matthews, changing his name to avoid confusion with King Crimson's Ian MacDonald. Matthews soon signed with MCA Records for his first solo effort, Matthews Southern Comfort (1970), which featured former Fairport bandmates Richard Thompson and Simon Nicol. He eventually formed a band of the same name, recording two albums for MCA and scoring a number one U.K. hit with their version of Joni Mitchell's "Woodstock." In November of 1970, at the height of the band's popularity, Matthews left, abruptly walking off-stage during a show in Oxford.

Shortly thereafter, a deal with Mercury Records subsidiary Vertigo resulted in two of his best albums, If You Saw Thro' My Eyes (January 1971) and Tigers Will Survive (November 1971). Artistically restless, Matthews formed another band, Plainsong, with Dave Richards, Andy Roberts, and Bob Ronga. Both Roberts and Ronga had appeared on Tigers Will Survive. A contractual obligation with Vertigo for one more record led to the recording of Journeys from Gospel Oak. The finished product, which was completed in just five days, remained in the can until 1974, after being sold to Mooncrest Records. Free from his contract with Vertigo, Matthews and his new band recorded the loosely conceptual In Search of Amelia Earhart in 1972 for Elektra Records, before disbanding when the label refused to release the follow-up. Matthews then relocated to California, recording two more albums for Elektra, the Michael Nesmith-produced Valley Hi (November 1973) and Some Days You Eat the Bear and Some Days the Bear Eats You (July 1974).

While both received their fair share of critical praise, neither did all that well commercially, and he was dropped from the label. Following a brief stint with Columbia, which yielded what may be his two weakest records (Go for Broke [1975] and Hit and Run [1976]), he reunited with Sandy Roberton, who had produced both Journeys from Gospel Oak and In Search of Amelia Earhart, for his next venture, 1978's Stealin' Home. Produced by Roberton on his own Rockburgh label, Stealin' Home surprisingly spawned Matthews' biggest U.S. hit, the Terence Boylan penned "Shake It" (number 13). Subsequent LPs failed to match the success of Stealin' Home and when Rockburgh went bankrupt, he was once again without a label. From the mid-'70s on into the '80s, Matthews dabbled in a number of different styles, from jazz-inflected pop to new wave, with varied results. Living in Seattle (he moved there in the late '70s), led to the formation of yet another band, Hi-Fi, who released two records to relative public indifference before splitting up.

Once again solo, Matthews returned with the techno-pop Shook (1984), which was released only in Germany following PolyGram's decision to not market the album in Britain or the U.S. Frustrated by the decision, Matthews decided to call it quits after 18 years as a recording artist. This consequently led to work as an A&R man for Island Music and then Windham Hill Records, but a 1986 appearance at Fairport Convention's annual reunion festival rekindled Matthews' interest in performing. His retirement turned into merely a five-year hiatus, culminating with Walking a Changing Line (1988), an album dedicated solely to the songs of singer/songwriter Jules Shear. The late '80s saw another move for Matthews, this time to Austin, Texas, where he worked on and off with Walking a Changing Line co-producer Mark Hallman. The next decade would be Matthews' most productive stretch since the late '60s/early '70s, with the release of five solo studio albums, as well as three with the re-formed Plainsong, one with the band Hamilton Pool, and a handful of live recordings.

It also proved to be his most fruitful period as a writer. The '90s also saw the release of various collections of odds and ends, including three volumes of rarities and unreleased material entitled Orphans & Outcasts. As the '90s came to an end, Matthews continued to stay busy, floating from project to project, recording on his own, as well as with others. Tiniest Wham was issued in early 2000, as was the Sandy Denny tribute Secrets All Told with the one-off band No Grey Faith. A collaboration with singer/songwriter Elliott Murphy (La Terre Commune) followed in 2001. Throughout the 2000s Matthews stayed active, releasing a handful of live albums while also stretching out into unfamiliar territory and collaborations. With the Searing Quartet, he explored jazz on the 2008 album Joy Mining. He made duet albums with Egbert Derix and Ad Van Der Veen, as well as two records with the Nick Vernier Band, including a 2010 LP called Time Will Show the Wiser that also showcased Emitt Rhodes.

He also cut a record with Plainsong in 2003 and one with Matthews Southern Comfort in 2010. In the early days of 2014, he released The Art of Obscurity, which he called his final solo album; he wasn't planning to retire but rather to cease making solo records. ~ Brett Hartenbach Top Albums Matthews' Southern Comfort — Free listening, videos, concerts, stats and photos at Last.fm 70s Matthews' Southern Comfort was a British folk-rock band led by Iain Matthews (known in the 1960s first as Ian McDonald, and from the late 1960s until 1989 as Ian Matthews ), an English musician and songwriter. They had one commercial success: in 1971 their cover version of "Woodstock" (written by Joni Mitchell ) was a number one hit single in the UK and saw heavy airplay in Canada, as well as reaching #23 in the US.

Matthews was an early member of… read more Matthews Southern Comfort | John Peel Wiki | Fandom powered by Wikia 04:27 Matthews Southern Comfort - Woodstock (1970) Matthews Southern Comfort were frequently played on Top Gear during their lifespan, both session and tracks by the band appearing in Peel's playlists. But not only was Peel a supporter of the band, he may even have been responsible for its existence. In an interview with Mojo magazine (December 2015, p.130), Ian Matthews, who had just been fired by Fairport Convention in 1969 after the band decided to concentrate on its version of British traditional folk music, is quoted as saying: "I told John Peel the part of Fairport I loved was where we would interpret contemporary American songwriters. He said, 'Well maybe you ought to develop that as something of your own.'" And indeed this was what Ian Matthews did, first with Matthews Southern Comfort, then with Plainsong , and during his solo career. Peel was the narrator of a documentary film (see below) made at an open-air festival in 1970, directed by Tony Palmer, and featuring live performances by Fairport Convention and Matthews Southern Comfort.

Festive Fifty Entries None. Sessions Two sessions. No known commercial release. Please note that Ken Garner lists the band under the spelling Matthews' Southern Comfort (with an apostrophe). Further sessions were recorded by Southern Comfort (without Ian Matthews). Matthews also recorded a solo session and sessions with Plainsong . 1. Recorded 1970-02-02. First broadcast 14 February 1970 . My Front Pages / Blood Red Roses / Uncle Joe/Reagan’s Rag / What We Say 2. Recorded 1970-11-17. First broadcast 28 November 1970 .

Repeated 26 December 1970 I Believe In You / Sylvie / And When She Smiles / And Me Other Shows Played Ian Matthews | New Music And Songs | Ian Matthews About Ian Matthews During his stylistically diverse and often convoluted career, Iain Matthews (born Ian Matthews MacDonald, he changed his last name in 1968 and then the spelling of his first name in 1989 to reflect his Celtic roots) has seen commercial success, major-label deals, and numerous bands come and go, and then come and go again, while always bouncing back in one way or another. After time spent with a couple of local bands (the Classics and the Rebels) in his hometown of Scunthorpe, he moved to London where he began his recording career in 1966 with the surf group Pyramid. The band recorded one single for Deram Records, but never really went any further and Matthews (then still known as Ian MacDonald) left after he was brought to the attention of Ashley Hutchings, who happened to be looking for a male singer for his new band Fairport Convention.

He remained with Fairport for two albums, including the folk-rock classic What We Did on Our Holidays, before leaving during the recording of 1969's Unhalfbricking (his backing vocal can be heard on "Percy's Song") due to creative differences. By the time of his second and last record with the band, he became known as Ian Matthews, changing his name to avoid confusion with King Crimson's Ian MacDonald. Matthews soon signed with MCA Records for his first solo effort, Matthews Southern Comfort (1970), which featured former Fairport bandmates Richard Thompson and Simon Nicol. He eventually formed a band of the same name, recording two albums for MCA and scoring a number one U.K. hit with their version of Joni Mitchell's "Woodstock." In November of 1970, at the height of the band's popularity, Matthews left, abruptly walking off-stage during a show in Oxford. Shortly thereafter, a deal with Mercury Records subsidiary Vertigo resulted in two of his best albums, If You Saw Thro' My Eyes (January 1971) and Tigers Will Survive (November 1971).

Artistically restless, Matthews formed another band, Plainsong, with Dave Richards, Andy Roberts, and Bob Ronga. Both Roberts and Ronga had appeared on Tigers Will Survive. A contractual obligation with Vertigo for one more record led to the recording of Journeys from Gospel Oak. The finished product, which was completed in just five days, remained in the can until 1974, after being sold to Mooncrest Records. Free from his contract with Vertigo, Matthews and his new band recorded the loosely conceptual In Search of Amelia Earhart in 1972 for Elektra Records, before disbanding when the label refused to release the follow-up. Matthews then relocated to California, recording two more albums for Elektra, the Michael Nesmith-produced Valley Hi (November 1973) and Some Days You Eat the Bear and Some Days the Bear Eats You (July 1974). While both received their fair share of critical praise, neither did all that well commercially, and he was dropped from the label.

Following a brief stint with Columbia, which yielded what may be his two weakest records (Go for Broke [1975] and Hit and Run [1976]), he reunited with Sandy Roberton, who had produced both Journeys from Gospel Oak and In Search of Amelia Earhart, for his next venture, 1978's Stealin' Home. Produced by Roberton on his own Rockburgh label, Stealin' Home surprisingly spawned Matthews' biggest U.S. hit, the Terence Boylan penned "Shake It" (number 13). Subsequent LPs failed to match the success of Stealin' Home and when Rockburgh went bankrupt, he was once again without a label. From the mid-'70s on into the '80s, Matthews dabbled in a number of different styles, from jazz-inflected pop to new wave, with varied results. Living in Seattle (he moved there in the late '70s), led to the formation of yet another band, Hi-Fi, who released two records to relative public indifference before splitting up.

Once again solo, Matthews returned with the techno-pop Shook (1984), which was released only in Germany following PolyGram's decision to not market the album in Britain or the U.S. Frustrated by the decision, Matthews decided to call it quits after 18 years as a recording artist. This consequently led to work as an A&R man for Island Music and then Windham Hill Records, but a 1986 appearance at Fairport Convention's annual reunion festival rekindled Matthews' interest in performing. His retirement turned into merely a five-year hiatus, culminating with Walking a Changing Line (1988), an album dedicated solely to the songs of singer/songwriter Jules Shear. The late '80s saw another move for Matthews, this time to Austin, Texas, where he worked on and off with Walking a Changing Line co-producer Mark Hallman. The next decade would be Matthews' most productive stretch since the late '60s/early '70s, with the release of five solo studio albums, as well as three with the re-formed Plainsong, one with the band Hamilton Pool, and a handful of live recordings.

It also proved to be his most fruitful period as a writer. The '90s also saw the release of various collections of odds and ends, including three volumes of rarities and unreleased material entitled Orphans & Outcasts. As the '90s came to an end, Matthews continued to stay busy, floating from project to project, recording on his own, as well as with others. Tiniest Wham was issued in early 2000, as was the Sandy Denny tribute Secrets All Told with the one-off band No Grey Faith. A collaboration with singer/songwriter Elliott Murphy (La Terre Commune) followed in 2001. Throughout the 2000s Matthews stayed active, releasing a handful of live albums while also stretching out into unfamiliar territory and collaborations. With the Searing Quartet, he explored jazz on the 2008 album Joy Mining. He made duet albums with Egbert Derix and Ad Van Der Veen, as well as two records with the Nick Vernier Band, including a 2010 LP called Time Will Show the Wiser that also showcased Emitt Rhodes.

He also cut a record with Plainsong in 2003 and one with Matthews Southern Comfort in 2010. In the early days of 2014, he released The Art of Obscurity, which he called his final solo album; he wasn't planning to retire but rather to cease making solo records. ~ Brett Hartenbach, Rovi Hear more of Later That Same Year + Bonus Tracks by Matthews Southern Comfort (1970) Matthews Southern Comfort – Later That Same Year + Bonus Tracks Single CD – £9.99 Catalog No. BGOCD807 From 1970 came the third and last Matthews Southern Comfort album before Ian and the band split to go their seperate ways.

Southern Comfort (the name the band continued with after Matthews left) produced two albums before folding Ian Matthews has subsequently gone on to have a long and critically-acclaimed recording career Included on this BGO release as one of four bonus tracks is the UK No.1 hit single, ‘Woodstock’ Digitally remastered and slip-cased and with new notes Ads in Record Collector and Shindig Also available on BGO Records: BGOCD313 Matthews Southern Comfort/Second Spring; (by Ian Matthews) BGOCD680 Stealin’ Home/Siamese Friends; BGOCD681 Spot Of Interference/‘Shook’; BGOCD727 Go For Broke/Hit And Run; BGOCD733 The Dark Ride/God Looked Down; BGOCD739 Pure And Crooked/Skeleton Key Tracklist 2 on 1 CD BGOCD313 £9.99 Matthews Southern Comfort - MSC ... & Second S :: NoNaMe Matthews Southern Comfort - MSC ... & Second S yelper / 4 февраля 2007, 00:35 / Grandpapas Music / Музыка / Collectable Rarities Album.

Type: Album (2 LP in 1CD) Year: 1970 Style: Country Rock / Southern Rock / Folk Rock Country: United Kingdom Quality : CBR — 320 kbps / 44,1Khz / Joint-Stereo Size: 170,183 MB ----------------------<cut>---------------------- During his stylistically diverse and often convoluted career, Iain Matthews (born Ian Matthews MacDonald — he changed his last name in 1968 and then the spelling of his first name in 1989 to reflect his Celtic roots) has seen commercial success, major-label deals, and numerous bands come and go, and then come and go again, while always bouncing back in one way or another. After time spent with a couple of local bands (the Classics and the Rebels) in his hometown of Scunthorpe, he moved to London where he began his recording career in 1966 with the surf group Pyramid.

The band recorded one single for Deram Records, but never really went any further and Matthews (then still known as Ian MacDonald) left after he was brought to the attention of Ashley Hutchings, who happened to be looking for a male singer for his new band Fairport Convention. He remained with Fairport for two albums, including the folk-rock classic What We Did on Our Holidays, before leaving during the recording of 1969's Unhalfbricking (his backing vocal can be heard on "Percy's Song") due to creative differences. By the time of his second and last record with the band, he became known as Ian Matthews, changing his name to avoid confusion with King Crimson's Ian MacDonald. Matthews soon signed with MCA Records for his first solo effort, Matthews Southern Comfort (1970), which featured former Fairport bandmates Richard Thompson and Simon Nicol. He eventually formed a band of the same name, recording two albums for MCA and scoring a number one U.K. hit with their version of Joni Mitchell's "Woodstock." In November of 1970, at the height of the band's popularity, Matthews left, abruptly walking off-stage during a show in Oxford.

Shortly thereafter, a deal with Mercury Records subsidiary Vertigo resulted in two of his best albums, If You Saw Thro' My Eyes (January 1971) and Tigers Will Survive (November 1971). Artistically restless, Matthews formed another band, Plainsong, with Dave Richards, Andy Roberts, and Bob Ronga. Both Roberts and Ronga had appeared on Tigers Will Survive. A contractual obligation with Vertigo for one more record led to the recording of Journeys From Gospel Oak. The finished product, which was completed in just five days, remained in the can until 1974, after being sold to Mooncrest Records. Free from his contract with Vertigo, Matthews and his new band recorded the loosely conceptual In Search of Amelia Earhart in 1972 for Elektra Records, before disbanding when the label refused to release the follow-up. Matthews then relocated to California, recording two more albums for Elektra, the Michael Nesmith-produced Valley Hi (November 1973) and Some Days You Eat the Bear and Some Days the Bear Eats You (July 1974).

While both received their fair share of critical praise, neither did all that well commercially, and he was dropped from the label. Following a brief stint with Columbia, which yielded what may be his two weakest records (Go for Broke [1975] and Hit and Run [1976]), he reunited with Sandy Roberton, who had produced both Journeys From Gospel Oak and In Search of Amelia Earhart, for his next venture, 1978's Stealin' Home. Produced by Roberton on his own Rockburgh label, Stealin' Home surprisingly spawned Matthews' biggest U.S. hit, the Terence Boylan penned "Shake It" (number 13). Subsequent LPs failed to match the success of Stealin' Home and when Rockburgh went bankrupt, he was once again without a label. From the mid-'70s on into the '80s, Matthews dabbled in a number of different styles, from jazz-inflected pop to new wave, with varied results. Living in Seattle (he moved there in the late '70s), led to the formation of yet another band, Hi-Fi, who released two records to relative public indifference before splitting up.

Once again solo, Matthews returned with the techno-pop Shook (1984), which was released only in Germany following PolyGram's decision to not market the album in Britain or the U.S. Frustrated by the decision, Matthews decided to call it quits after 18 years as a recording artist. This consequently led to work as an A&R man for Island Music and then Windham Hill Records, but a 1986 appearance at Fairport Convention's annual reunion festival rekindled Matthews' interest in performing. His retirement turned into merely a five-year hiatus, culminating with Walking a Changing Line (1988), an album dedicated solely to the songs of singer/songwriter Jules Shear. The late '80s saw another move for Matthews, this time to Austin, TX, where he worked on and off with Walking a Changing Line co-producer Mark Hallman. The next decade would be Matthews' most productive stretch since the late '60s/early '70s, with the release of five solo studio albums, as well as three with the reformed Plainsong, one with the band Hamilton Pool, and a handful of live recordings.

It also proved to be his most fruitful period as a writer. The '90s also saw the release of various collections of odds and ends, including three volumes of rarities and unreleased material entitled Orphans and Outcasts. As the '90s came to an end, Matthews continued to stay busy, floating from project to project, recording on his own, as well as with others. Tiniest Wham was issued in early 2000, as was the Sandy Denny tribute Secrets All Told with the one-off band No Grey Faith. A collaboration with singer/songwriter Elliott Murphy (La Terre Commune) followed in 2001. Tracklist: Matthews Southern Comfort | Download Music, Tour Dates & Video | eMusic Biography All Music Guide All Music Guide: During his stylistically diverse and often convoluted career, Iain Matthews (born Ian Matthews MacDonald, he changed his last name in 1968 and then the spelling of his first name in 1989 to reflect his Celtic roots) has seen commercial success, major-label deals, and numerous bands come and go, and then come and go again, while always bouncing back in one way or another.

After time spent with a couple of local bands (the Classics and the Rebels) in his hometown of Scunthorpe, he moved to London where he began his recording career in 1966 with the surf group Pyramid. The band recorded one single for Deram Records, but never really went any further and Matthews (then still known as Ian MacDonald) left after he was brought to the attention of Ashley Hutchings, who happened to be looking for a male singer for his new band Fairport Convention. He remained with Fairport for two albums, including the folk-rock classic What We Did on Our Holidays, before leaving during the recording of 1969's Unhalfbricking (his backing vocal can be heard on "Percy's Song") due to creative differences. By the time of his second and last record with the band, he became known as Ian Matthews, changing his name to avoid confusion with King Crimson's Ian MacDonald. Matthews soon signed with MCA Records for his first solo effort, Matthews Southern Comfort (1970), which featured former Fairport bandmates Richard Thompson and Simon Nicol. He eventually formed a band of the same name, recording two albums for MCA and scoring a number one U.K.

hit with their version of Joni Mitchell's "Woodstock." In November of 1970, at the height of the band's popularity, Matthews left, abruptly walking off-stage during a show in Oxford. Shortly thereafter, a deal with Mercury Records subsidiary Vertigo resulted in two of his best albums, If You Saw Thro' My Eyes (January 1971) and Tigers Will Survive (November 1971). Artistically restless, Matthews formed another band, Plainsong, with Dave Richards, Andy Roberts, and Bob Ronga. Both Roberts and Ronga had appeared on Tigers Will Survive. A contractual obligation with Vertigo for one more record led to the recording of Journeys from Gospel Oak. The finished product, which was completed in just five days, remained in the can until 1974, after being sold to Mooncrest Records. Free from his contract with Vertigo, Matthews and his new band recorded the loosely conceptual In Search of Amelia Earhart in 1972 for Elektra Records, before disbanding when the label refused to release the follow-up.

Matthews then relocated to California, recording two more albums for Elektra, the Michael Nesmith-produced Valley Hi (November 1973) and Some Days You Eat the Bear and Some Days the Bear Eats You (July 1974). While both received their fair share of critical praise, neither did all that well commercially, and he was dropped from the label. Following a brief stint with Columbia, which yielded what may be his two weakest records (Go for Broke [1975] and Hit and Run [1976]), he reunited with Sandy Roberton, who had produced both Journeys from Gospel Oak and In Search of Amelia Earhart, for his next venture, 1978's Stealin' Home. Produced by Roberton on his own Rockburgh label, Stealin' Home surprisingly spawned Matthews' biggest U.S. hit, the Terence Boylan penned "Shake It" (number 13). Subsequent LPs failed to match the success of Stealin' Home and when Rockburgh went bankrupt, he was once again without a label.

From the mid-'70s on into the '80s, Matthews dabbled in a number of different styles, from jazz-inflected pop to new wave, with varied results. Living in Seattle (he moved there in the late '70s), led to the formation of yet another band, Hi-Fi, who released two records to relative public indifference before splitting up. Once again solo, Matthews returned with the techno-pop Shook (1984), which was released only in Germany following PolyGram's decision to not market the album in Britain or the U.S. Frustrated by the decision, Matthews decided to call it quits after 18 years as a recording artist. This consequently led to work as an A&R man for Island Music and then Windham Hill Records, but a 1986 appearance at Fairport Convention's annual reunion festival rekindled Matthews' interest in performing. His retirement turned into merely a five-year hiatus, culminating with Walking a Changing Line (1988), an album dedicated solely to the songs of singer/songwriter Jules Shear.

The late '80s saw another move for Matthews, this time to Austin, Texas, where he worked on and off with Walking a Changing Line co-producer Mark Hallman. The next decade would be Matthews' most productive stretch since the late '60s/early '70s, with the release of five solo studio albums, as well as three with the re-formed Plainsong, one with the band Hamilton Pool, and a handful of live recordings. It also proved to be his most fruitful period as a writer. The '90s also saw the release of various collections of odds and ends, including three volumes of rarities and unreleased material entitled Orphans & Outcasts. As the '90s came to an end, Matthews continued to stay busy, floating from project to project, recording on his own, as well as with others. Tiniest Wham was issued in early 2000, as was the Sandy Denny tribute Secrets All Told with the one-off band No Grey Faith. A collaboration with singer/songwriter Elliott Murphy (La Terre Commune) followed in 2001.

Throughout the 2000s Matthews stayed active, releasing a handful of live albums while also stretching out into unfamiliar territory and collaborations. With the Searing Quartet, he explored jazz on the 2008 album Joy Mining. He made duet albums with Egbert Derix and Ad Van Der Veen, as well as two records with the Nick Vernier Band, including a 2010 LP called Time Will Show the Wiser that also showcased Emitt Rhodes. He also cut a record with Plainsong in 2003 and one with Matthews Southern Comfort in 2010. In the early days of 2014, he released The Art of Obscurity, which he called his final solo album; he wasn't planning to retire but rather to cease making solo records.

Iain Matthews — Listen for free on Spotify Iain Matthews Play on Spotify During his stylistically diverse and often convoluted career, Iain Matthews (born Ian Matthews MacDonald, he changed his last name in 1968 and then the spelling of his first name in 1989 to reflect his Celtic roots) has seen commercial success, major-label deals, and numerous bands come and go, and then come and go again, while always bouncing back in one way or another. After time spent with a couple of local bands (the Classics and the Rebels) in his hometown of Scunthorpe, he moved to London where he began his recording career in 1966 with the surf group Pyramid . The band recorded one single for Deram Records , but never really went any further and Matthews (then still known as Ian MacDonald) left after he was brought to the attention of Ashley Hutchings , who happened to be looking for a male singer for his new band Fairport Convention .

He remained with Fairport for two albums, including the folk-rock classic What We Did on Our Holidays, before leaving during the recording of 1969's Unhalfbricking (his backing vocal can be heard on "Percy's Song") due to creative differences. By the time of his second and last record with the band, he became known as Ian Matthews, changing his name to avoid confusion with King Crimson 's Ian MacDonald . Matthews soon signed with MCA Records for his first solo effort, Matthews Southern Comfort (1970), which featured former Fairport bandmates Richard Thompson and Simon Nicol . He eventually formed a band of the same name, recording two albums for MCA and scoring a number one U.K. hit with their version of Joni Mitchell 's "Woodstock." In November of 1970, at the height of the band's popularity, Matthews left, abruptly walking off-stage during a show in Oxford. Shortly thereafter, a deal with Mercury Records subsidiary Vertigo resulted in two of his best albums, If You Saw Thro' My Eyes (January 1971) and Tigers Will Survive (November 1971).

Artistically restless, Matthews formed another band, Plainsong , with Dave Richards, Andy Roberts , and Bob Ronga. Both Roberts and Ronga had appeared on Tigers Will Survive. A contractual obligation with Vertigo for one more record led to the recording of Journeys from Gospel Oak. The finished product, which was completed in just five days, remained in the can until 1974, after being sold to Mooncrest Records . Free from his contract with Vertigo , Matthews and his new band recorded the loosely conceptual In Search of Amelia Earhart in 1972 for Elektra Records , before disbanding when the label refused to release the follow-up. Matthews then relocated to California, recording two more albums for Elektra , the Michael Nesmith -produced Valley Hi (November 1973) and Some Days You Eat the Bear and Some Days the Bear Eats You (July 1974). While both received their fair share of critical praise, neither did all that well commercially, and he was dropped from the label.

Following a brief stint with Columbia , which yielded what may be his two weakest records (Go for Broke [1975] and Hit and Run [1976]), he reunited with Sandy Roberton, who had produced both Journeys from Gospel Oak and In Search of Amelia Earhart, for his next venture, 1978's Stealin' Home. Produced by Roberton on his own Rockburgh label, Stealin' Home surprisingly spawned Matthews' biggest U.S. hit, the Terence Boylan penned "Shake It" (number 13). Subsequent LPs failed to match the success of Stealin' Home and when Rockburgh went bankrupt, he was once again without a label. From the mid-'70s on into the '80s, Matthews dabbled in a number of different styles, from jazz-inflected pop to new wave, with varied results. Living in Seattle (he moved there in the late '70s), led to the formation of yet another band, Hi-Fi , who released two records to relative public indifference before splitting up.

Once again solo, Matthews returned with the techno-pop Shook (1984), which was released only in Germany following PolyGram 's decision to not market the album in Britain or the U.S. Frustrated by the decision, Matthews decided to call it quits after 18 years as a recording artist. This consequently led to work as an A&R man for Island Music and then Windham Hill Records , but a 1986 appearance at Fairport Convention 's annual reunion festival rekindled Matthews' interest in performing. His retirement turned into merely a five-year hiatus, culminating with Walking a Changing Line (1988), an album dedicated solely to the songs of singer/songwriter Jules Shear . The late '80s saw another move for Matthews, this time to Austin, Texas, where he worked on and off with Walking a Changing Line co-producer Mark Hallman. The next decade would be Matthews' most productive stretch since the late '60s/early '70s, with the release of five solo studio albums, as well as three with the re-formed Plainsong , one with the band Hamilton Pool , and a handful of live recordings.

It also proved to be his most fruitful period as a writer. The '90s also saw the release of various collections of odds and ends, including three volumes of rarities and unreleased material entitled Orphans & Outcasts. As the '90s came to an end, Matthews continued to stay busy, floating from project to project, recording on his own, as well as with others. Tiniest Wham was issued in early 2000, as was the Sandy Denny tribute Secrets All Told with the one-off band No Grey Faith . A collaboration with singer/songwriter Elliott Murphy (La Terre Commune) followed in 2001. Throughout the 2000s Matthews stayed active, releasing a handful of live albums while also stretching out into unfamiliar territory and collaborations. With the Searing Quartet , he explored jazz on the 2008 album Joy Mining. He made duet albums with Egbert Derix and Ad Van Der Veen , as well as two records with the Nick Vernier Band, including a 2010 LP called Time Will Show the Wiser that also showcased Emitt Rhodes .

He also cut a record with Plainsong in 2003 and one with Matthews Southern Comfort in 2010. In the early days of 2014, he released The Art of Obscurity, which he called his final solo album; he wasn't planning to retire but rather to cease making solo records. ~ Brett Hartenbach, Rovi Read More Show less Same / Vinyl record : Matthews Southern Comfort: Amazon.es: MÃºsica 4.0 de un mÃ¡ximo de 5 estrellas Great Country Rock CD 6 de febrero de 2013 Por L. D. Jentzer - Publicado en Amazon.com Formato: CD de audio Compra verificada I purchased this LP when it was new, way back when it first came out, I believe in the 1970's. Loved it then, love it now. Interestingly, the CD is not exactly the same as the LP, though it shares the same cover. The LP led off with "Woodstock," whereas the CD, which I assume is the British edition, contains "Woodstock" as a bonus track. It doesn't matter as all the tracks on the LP are on the CD.

If you like soft, country rock (the kind where pedal steel guitar is prominent, like in the early Eagles), this album is a masterpiece. Much as I love CSNY, I think the version of "Woodstock" on this CD outshines theirs. Where CSNY took a fairly hard rock edge to the song, Matthews Southern Comfort uses a softer, more dreamy approach which seems to suit the song better. The rest of the tracks are equally fine, with the Ian Matthews songs and "The Brand New Tennessee Waltz" taking prominence. All in all, a fine album. 1 de 1 personas piensan que la opiniÃ³n es Ãºtil 5.0 de un mÃ¡ximo de 5 estrellas Easily the best album (including CD's) Mathews ever recorded 14 de junio de 2015 Por Richard Beckett - Publicado en Amazon.com Formato: CD de audio Compra verificada Easily the best album (including CD's) Mathews ever recorded. The re- mastered Version of Sylvie is incredible. BGO did a incredible job of re-mastering the entire CD. Great extras included from the same time period.

The first time I heard this recording was over the Fillmore East's sound system, waiting for Jethro Tull's, New York's debut Of Aqualung. Later That Same Year is one of those timeless albums that sounds as fresh as it did when it was first released. 1 de 1 personas piensan que la opiniÃ³n es Ãºtil 4.0 de un mÃ¡ximo de 5 estrellas Great playing terrible mixing and mastering 19 de abril de 2009 Por Wayne A. Cristaudo - Publicado en Amazon.com Formato: CD de audio Compra verificada As a singer and interpreter they don't come much better than Matthews. Maybe at times his voice is too beautiful - but it is beautiful. And most of the songs on the album are mighty fine. Moments, like Woodstock, are sublime. It's like CSNY - but I like these guys much better. The playing is also superb. One reviewer complains about the remastering. And I am definitely with him - though it may well be that the original mix is just terrible. There's no bottom end - the bass and drums sound like they had been recorded across the street.

What a pity. This material deserves much better. So five stars for playing, singing etc. and around zero for the engineering. Hopefully one day someone will get to the original tapes and do them justice. 5 de 6 personas piensan que la opiniÃ³n es Ãºtil

Question: What was the name of the 1970 number one hit record by Matthews Southern Comfort which was their only hit?
Answer: WOODSTOCK